uh…. I don’t know what to say….
Quarantine Watch #126: Fail Safe (1964)
I am a BIG Sydney Lumet fan. I’m trying to get around to seeing all of his stuff as I think he’s one of the best directors we’ve ever had. The way he directs actors is just phenomenal. That being said, I think this would be a better play than a film. It’s baed on the same book that DR. STRANGELOVE was based on — RED ALERT — and they came out at the same time by the same studio. DR. STRANGELOVE is so superior in every way and really feels of the ‘60s while this is really feels of the ‘50s. This is truly a comedy of human errors and I think that’s what Kubrick saw in the story and why he steered into the comedy of the situation. Still I loved the cinematography in this.
Quarantine Watch #125: Out (2020)
This was a cute little body swap film (which I didn’t expect the premise to be). The animation style is so unique, it reminds me of the texture of yarn. It’s a little longer than it needs to be, but it’s also damn cute. Also Jim the dog looks identical to my own dog, so I was ultra invested in it.
Quarantine Watch #124: Orlando (1992)
I wanted to make sure I saw this before it left Criterion Channel. This is such a progressive story for the time it came out, not only the book but also the film. Tilda Swinton is so good in this. I can tell how she got the career she has starting with this performance. I was confused at first why she was playing a man while Quentin Crisp was playing the king, but after the gender change, it all came together. The ending the present day was also a welcome surprise. Charlotte Valandrey as Princess Sasha really leaped off the screen for me (even though she is not in the film long). I wish I had seen more of her. The costumes are the real star of the film however. Sandy Powell deserves the Oscar nom she got.
Quarantine Watch #123: Guns Akimbo (2020)
This is a wild ride. It’s like if you took the craziest/best parts of CRANK, GAMER, UPGRADE, and DREDD and shoved it up your nose as you did cocaine. It’s really nice to see how Daniel Radcliffe knows how to make fun of himself (whether it’s in this or SWISS ARMY MAN or HORNS or MIRACLE WORKERS). He used to be the lead of an eight action film series. Instead of only sticking to leads that make him look good, he continually plays a wimp and he’s so good at it. He’s seriously becoming a really great comedic actor. Samara Weaving is also one of my favorite actresses’ of the modern era. I used to call her a bobo-Margot Robbie, but she has succeed Robbie in my book as an actress. Also you can just tell she’s a nerd for these hyper-violent unique action films when you look at past roles she’s taken (READY OR NOT and MAYHEM for example). She is so good in here. The camera work does such a good job of putting you in characters’ POVs while not being a first person film. The way it roles and moves is haphazard, erratic, off balance, and cocaine addled. Rhys Darby's speech about doing what it takes to survive is one of the most brilliant philosophical speeches I've seen in a film lately.
Quarantine Watch #122: The Italian Job (1969)
This is easily my favorite Michael Caine performance. He is so devilish, suave, and funny. There’s an air of James Bond around him, especially with his Aston Martin DB4. The cars in this are all so beautiful, it was probably so cool to be in them in Italy. This is the first time that I’ve seen Benny Hill in something — he just was not of my time so it’s interesting to finally see him. Michael Standing is another stand out here as Arthur. This is also a SUPER British film.
Quarantine Watch #121: The Dead Zone (1983)
It’s hard for me to watch this because I watched the TV show and read the novel so I knew a lot about the story going in. I couldn’t help but see the episodic nature of the story. He moves from one story to the next. It just plays like a TV show. Christopher Walken was the perfect person to play Johnny because his face and reactions are just perfect. When he’s in the gazebo and is asked about the murder, he gives this brief devious smile. Martin Sheen is chewing the scenery and I love it. He plays the role like a spoiled kid who gets what he wants all the time and throws a tantrum if he doesn’t get it. He’s doing a Trump parody 30 years earlier. You can really tell how little money they had to work with from the serious lack of extras at the Gazebo scene and not showing the missiles or what was happening in the rest of the world. It’s also great to see what the TV show was inspired by (Johnny’s jacket and hair) and what they changed (making Sarah married to Bannerman/Sarah’s child is Johnny’s) to make it really strong.
Quarantine Watch #120: Lovebirds (2020)
I couldn’t believe how many jokes back and forth and back and forth these characters throw at each other. There are so many and they’re all great. The characters do so many dumb things and they keep going on and on for the sake of the joke. That’s the main issue. There are so many comedy set ups that are either not right for the moment or go on for too long. It’s just the comedians indulging in themselves. Both of their characters are also total dicks. I really enjoyed watching it nonetheless. Aside from the moments that got too stupid, I was laughing the whole time.
Quarantine Watch #119: One Hundred and One Dalmatians (1961)
Decided to rewatch this with my dog. I didn’t really remember it. I remember images in my head (mostly from the beginning) from my childhood. I forgot a lot of this movie including the other animals and snow setting. The ending is so tense and well written. There’s also a lot of fun here, even though everyone (including the animals) speaks in a British high class snobby tone.
Quarantine Watch #118: 3:10 to Yuma (1957)
The James Mangold directed Christian Bale/Russell Crowe version is a favorite of my dad’s and mine. I also LOVE Elmore Leonard stories so this has always stood as one of my favorites. One of the things that makes this story so great is that it is as simple and lean as it could possibly be. The scenes in the hotel room where they discuss morality and ethics is so ahead of it’s time, but at also feels like an old play. I’m more partial to the remake still, but I’m glad I finally got around to seeing it. The theme song is also great.
Quarantine Watch #117: Amarcord (1973)
I really want to love Fellini. So far this is the closest I’ve gotten. I watched 8 1/2 about 10 years ago and didn’t care for it at all (don’t worry I plan on revisiting it soon). This film seemed all over the place, but there were a lot of parts I really liked: The uncle in the tree, the movie theater scene, the scene where the tobacco woman shoves her boobs in the boy’s face. There’s a lot of life in this film, that’s for sure. I am very removed from Italian fascism/Mussolini so I don’t really have a reference point for that. I hope to learn more about the experience that the people who lived it went through. There’s a shot in here that I particularly loved. It’s when they stop on the side of the ride to pee and the boy is jumping up and down from the wheat in the field. I just loved that shot.
Quarantine Watch #116: The Gold Rush (1925)
I watched the 1925 restoration. This is not at all what I expected. I thought this was about the 1849 California Gold Rush not the Alaskan Gold Rush. I had no clue at all how wintery the movie was as the only thing I was aware of was the bread roll dance scene (which really was lovely — I thought I was going to be desensitized since I’ve seen the clip so many times, but it still held up). The final set piece with the cabin on the edge of the cliff was spectacular.
Quarantine Watch #115: The Lady From Shanghai (1947)
I had a hard time trying to like this. Orson Welles’ accent isn’t the best and I don’t really get why he NEEDED to be Irish. The trial scene feels like it’s out of a different movie and the voice over really hurt this noir for me. The initial set up is interesting, but the movie doesn’t find it’s stride until the final 5 minutes. I knew about a lot of this going into it, but I still expected it to make a little more sense than it did. This is my first introduction to Rita Hayworth and she was very pretty and good in this.
Quarantine Watch #114: Patton Oswalt: I Love Everything (2020)
This ended up being my least favorite Patton Oswalt special, but that doesn’t say a lot since he really is great. The stuff about Dennys and the strange contractors were fantastic. I also loved the design of the stage.
Quarantine Watch #113: Brave (2012)
This is one of two Pixar films I hadn’t seen. I actually had a lot of fun with it. The one thing I was surprised by was how much CGI hair has improved in just 8 years. The bear looks smooth as opposed to the cat in TOY STORY 4. This even goes to the trees. I loved the colors and the animation of the magical elements. The three boys were also so fantastically funny.
Quarantine Watch #112: Runaway Train (1985)
This the best acting I’ve ever seen from both Jon Voight and Eric Roberts. Eric Roberts is so lovable for most of this. Mainly because he plays such a good dummy. I’m not used to seeing Young Eric Roberts, but this is definitely my favorite era of him. I audibly gasped when the credits said that Akira Kurosawa wrote the original screenplay, as I was unaware of this. There’s a lot of the Kurosawa feel in this especially in the themes. Rebecca de Moray was also great. I did get a little annoyed with the stock characters in the train control room. They were so cartoonish.
Quarantine Watch #111: Sherlock, Jr. (1924)
I tend to lean more towards Charlie Chaplin and Harold Lloyd when it comes to silent comedy greats, but to be fair the only Keaton I’ve seen is THE GENERAL and the clips in the documentary THE GREAT BUSTER (and SUNSET BLVD. if you count that). I’ve been trying to dig into his more famous films and since this was only 44 minutes, it only made sense to spend the time watching it. I thought his humor was okay, but the writing in this is what really shines. The $4 that Sherlock tries to show he has comes back to haunt him in such a devious way it broke my heart. I’d consider this more a romance film than a comedy film, even though the water pouring on him scene is great and other things work comedically. I also love the pool scene. I’m also a sucker for mysteries so the end was particularly fun. I’m going to check out STEAMBOAT BILL, JR. next and I hope that impacts me more than this did.
Quarantine Watch #110: Fat Girl (2001)
I haven’t been thrusted into the female POV as hard as this film does. I feel like all men are shit right now having just watched this. I feel so badly for Anaïs. First off, she gets the raw end so much it hurts. It reminds me of the days when all my friends were with girls and I had no one in middle school. Second, she isn’t THAT fat for the movie to be called FAT GIRL (even though I know it's not the original French title). Third, man this pain is so visceral and real, which is all that matters to an adolescent girl. I see so much of my self in Anaïs and I have seen so many girls like Elena. The scene where they stare in the mirror and Elena tells Anaïs she sees no resemblance baffles me. The two actresses really do look alike. Ooof and that ending. Pure insanity.
Quarantine Watch #109: His Girl Friday (1940)
I just got the Criterion Blu-Ray of this, so I thought I should give it a rewatch. To be honest I just had it on in the background while I did work, but man I just love this movie. Every single line is so expertly crafted and hysterical. One of the best written films EVER. THE FAVOURITE is the only other movie that comes to mind where every line is so expertly crafted as HIS GIRL FRIDAY. The Blu-Ray also comes with THE FRONT PAGE (1931) an earlier movie based on the same play that HIS GIRL FRIDAY is based on. I’m excited to check it out mainly cause Ben Hecht (the writer of the play) wrote it and was directed by the guy who did the original OCEAN’S 11 (1960) and ALL QUIET ON THE WESTERN FRONT.
Quarantine Watch #108: Fanny and Alexander (1982)
I watched the 312 minute (5 hours & 12 minutes) version. This was a big one. The scene where the children watch their mother yell in agony over the coffin gave me the chills. Alexander is so punk rock in the scene where the Bishop puts him on trial. Seriously though, the Bishop is one of the biggest villains in cinema. He’s such a dick. I think I liked this as much as I did mainly because I love HAMLET and there are so many parallels here for obvious reasons. To be honest the first hour and a half didn’t do much for me — all the Christmas stuff. After that it gets really good. Ewa Fröling also really reminds me a lot of Emila Clarke.
